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Over 300 artists from 11 countries showcased various cultural performances at a program jointly organized by Vajra Kala Kunja and the Ancient Monument Conservation Research Society in Basantpur, Jhochhen, Kathmandu on March 8. The cultural extravaganza aimed to celebrate and safeguard the rich tapestry of global art and heritage.

According to the organizers, the essence of the program lay in the preservation and promotion of original art and culture, cultivating a deeper understanding of diverse cultures worldwide. It also served as a platform for cultural exchange, fostering collaboration among nations, and contributing to the promotion of tourism.

The participating artists were from different nations, including Austria, Belgium, Botswana, Estonia, Germany, Nepal, India, Indonesia, Malaysia, Poland, and South Africa. Each brought their unique cultural traditions to the forefront. Their collective presence underscored the universality of art and its power to bridge geographical and cultural divides.

Through a vibrant display of talent and tradition, the event not only celebrated cultural diversity but also fostered a spirit of unity and collaboration among nations, enriching the cultural landscape of Kathmandu and leaving a lasting impact on the attendees.

Longlisted for the Women’s Prize for Fiction 2022, Sorrow and Bliss by Meg Mason has raving reviews on its covers. Ann Patchett, one of my favorite writers ever, says. “I was making a list of all the people I wanted to send it to, until I realized that I wanted to send it to everyone I know.” Jojo Moyes, the author of ‘The Giver of Stars’, says it’s funny and tragic. A review says it’s probably the best book you’ll read this year. Yet another calls it unforgettable.

The story revolves around Martha Friel. She’s a writer who hasn’t had much luck. She has a wonderful husband, Patrick, who has loved her since the day he first met her. But Martha isn’t happy and she can’t put a finger on what makes her tick. She believes something is wrong with her. Growing up with an alcoholic mother has somewhat scarred her. When she alienates her husband who has never been anything but kind to her, she is forced to return to her parent’s home. Will she be able to start over and write herself a better ending? 

I had high expectations from the book. I wasn’t disappointed. The story had its moments. But it took me longer than I had anticipated to get through it. The plot is heavy—with themes such as generational trauma, mental health, pregnancy, and family dynamics. Some subplots, though interesting, aren’t explored much and don’t align with the main story. I’m still undecided about how I feel. I could relate to many instances in the book but I also thought the protagonist was dull and annoying. The side characters were much more fascinating. I wish there was more about them in the story.

I was bored sometimes but I couldn’t stop reading the book either. I expected something to happen. But nothing much ever did. But then that’s life, I guess. Little things add up and make you who you are. You react the way you do because of what you have seen around you growing up. Most of the time, you are guided by your thoughts and beliefs, which shape you but can also be the reason for your downfall. The book made me mull over these.

Mason’s handling of mental health is a nuanced one. She never really names the illness Martha has. Even when a diagnosis is made, it’s referred to as ‘—  —’. It leaves a lot of room for imagination and makes empathizing with the character easier. Sorrow and Bliss is a poignant reminder of the fact that life is complicated and people respond differently to things. There is more sorrow than bliss in the storyline but it makes you think hard about some stuff you would rather not confront, depending on where you are in life. In that way, it’s quite an eye-opening read.

Fiction

Sorrow and Bliss

Meg Mason

Published: 2020

Publisher: Weidenfeld & Nicholson

Pages: 347, Paperback

Indra Chaudhary, 31, is a folk story writer from Kanchanpur. He is currently teaching in Makwanpur. Before this, he was involved in theater. He performed in several dramas and radio plays. He has also acted in a Tharu movie ‘Bhura Bhura Rahar’ which will be released soon. Nowadays, he focuses on writing folk stories that explore culture, language, and community rituals.

He has published two books, ‘Rana Tharu Ma Prachalit Lok Katha Tatha Mithak’ and ‘Tip Tip’ which was introduced at the 8th Tharu Literature Festival in Sunsari this year. He also writes children’s stories. ‘Dhola Farkiyo ta?’, ‘Naya Ban Paley’, and ‘Kapash Ko Ghoda’ have all been inspired by folk tales. In a conversation with Babita Shrestha from ApEx, Chaudhary spoke about his goal of preserving our heritage through cultural writing.

What inspired you to pursue writing as a career?

When I came to Kathmandu to pursue an M.Phil. degree, I got involved in theater. I got to work with different artists. I’m from the Tharu community and while I was there, I realized that there wasn’t much documentation of our folk tales and culture. I decided to do some research for my academic writing. My professors and friends liked my work and encouraged me to write more for Nepali literature. I wrote my first story, ‘Bhumika’ which got published in the Tharu Literary Quarterly. Since then, I’ve been writing with the aim of sharing stories about our culture.

Could you run us through your writing process?

Before I start writing stories, I talk to people from the specific culture I’m exploring. I pay attention to how they talk, their language, and all the little details of their lifestyle. Sometimes, people want to know why I’m doing all that. I explain  that I want to document our culture, traditions, and art to preserve our identity. I learn about their culture and then try to weave those insights into my writing. Right now, I’m researching about the Chepang community. I’m gathering myths and stories for my next project. 

How would you describe your writing style?

When I write stories, I try to capture the actual words and phrases spoken by the native community. This not only adds a personal touch but also keeps the stories authentic. I also include translated statements in Nepali so that everyone, even those who aren’t Tharu, can understand it. I want to make my work lively and interesting so that readers won’t get bored. I want them to feel like they’re listening to these folk stories. I keep the plot engaging and informative to make readers curious. Take, for instance, my book ‘Tip Tip’, a collection of 18 stories published by Maya Publication, which focuses on the Rana Tharu community. It’s full of folk stories I wrote to grab the reader’s attention, each with a captivating climax and a powerful message. I have employed a funny tone to convey a deeper psychological message and symbol. 

Have you faced any significant challenges during your writing journey?

One of the main challenges I have faced in cultural writing is that people often aren’t interested in reading books written in a native language. I noticed this at literature festivals where people hesitated to buy books written in Tharu because they couldn’t understand the language. To tackle this issue, I started including Nepali translations within the lines of my writing to reach a wider audience. Another challenge is raising awareness among locals about reviving fading cultures. Many have lost hope. That is why I feel it’s my duty to preserve our cultural heritage.

Are there any authors that have had a significant impact on your writing?

When I started reading folk literature, I got passionate about working with folk stories. Govinda Acharya’s ‘Tharu Jati ko Lok Geet Ra Lok Sangeet’ has been a huge inspiration. It’s about the eastern Tharu community. That’s when I decided to write about the Rana Tharu community in Kailali and Kanchanpur. Cultural writing became my focus after that. I also want to acknowledge Krishna Raj Sarbahari who guided me on how to proceed with cultural writing. He was the one who told me that it was possible to publish a book in my mother tongue through Pragya Pratisthan.

Do you have any advice for aspiring writers?

I believe cultural writing has a bright future as it’s all about people and their identities, which is important for civilization. So to those thinking of taking up writing, I want to say it’s very important to study and understand your culture and spread awareness about it in any way you can.

The government is likely to miss revenue targets yet again.

Data released by the Financial Comptroller General Office (FCGO) shows the government has mobilized Rs 661bn in revenue in the first eight months of the fiscal year 2023/24. Although the collection is 7.13 percent higher compared to the same period of the previous fiscal year, it is only 41 percent of the revenue target for the current fiscal year.

The government initially set a revenue target of Rs 1,422bn for the current fiscal year through the annual budget announced on May 28 last year. It, however, lowered the revenue target to Rs 1,202bn through the mid-term review of the budget since revenue collection was not picking up as expected.

To meet the revised revenue target, the government needs to raise Rs 541bn in the remaining four months of the fiscal year which is unlikely as the government had mobilized Rs 393bn in the last four months of the previous fiscal year. This means the government needs to collect 38 percent more revenue compared to the last months of 2022/23 to meet the revenue target. Even if the revenue collection in the last four months of the current fiscal year follows the trend of the first eight months, total revenue collection will still be below Rs 1,100bn.

Although the government has managed to mobilize only Rs 661bn over the first eight months of the current fiscal year, it has spent Rs 801bn in the review period, according to FCGO. In the same period of the previous fiscal year, such spending was Rs 779bn.

Of the total spending, Rs 582bn is in recurrent expenditure and Rs 81.21bn is in capital expenditure, while Rs 138bn is toward financial management. In the first eight months of the previous fiscal year, the government had spent Rs 600.8bn toward recurrent expenditure, Rs 84.25bn toward capital expenditure, and Rs 86.12bn toward financial management.

According to the Financial Comptroller General Office (FCGO), the government has mobilized Rs 578m from tax revenue and Rs 60.37bn from non-tax revenue in the eight-month period.

The government had mobilized Rs 500.18bn from tax revenue, Rs 56.8bn from non-tax revenue, and Rs 35.3bn from other sources in the first eight months of fiscal year 2022/23.